A Quote by Michele Cassou

When you set aside the mantle of control in the painting process, images arise from ancient layers of the psyche. — © Michele Cassou
When you set aside the mantle of control in the painting process, images arise from ancient layers of the psyche.
I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.
Modern man, seeking a middle position in the evaluation of sense impression and thought, can, following Plato , interpret the process of understanding nature as a correspondence, that is, a coming into congruence of pre-existing images of the human psyche with external objects and their behaviour. Modern man, of course, unlike Plato , looks on the pre-existent original images also as not invariable, but as relative to the development of a conscious point of view, so that the word "dialectic" which Plato is fond of using may be applied to the process of development of human knowledge.
Let come what comes, and accommodate yourself to that, whatever it is. If good mental images arise, that is fine. If bad mental images arise, that is fine, too. Look on all of it as equal, and make yourself comfortable with whatever happens.
I'm now painting with all the elan of a Marseillais eating soup, which won't surprise you when I tell you I'm painting large sunflowers. The idea? To decorate the studio, now there's hope of Gauguin living here. I aim at a dozen panels of sunflowers in the room I've set aside for Gauguin.
Everything in Louisiana is about layers. There are layers of race, layers of class, layers of survival, layers of death, and layers of rebirth. To live with these layers is to be a true Louisianian. This state has a depth that is simultaneously beyond words and yet as natural as breathing. How can a place be both other-worldly and completely pedestrian is beyond me; however, Louisiana manages to do it. Louisiana is spooky that way.
If we can be cheered up by positive images we can be depressed by negative ones. As long as we accept images as realities we are in that trap, because you can't control the images.
We're going to protect and honor the Constitution, and I don't have the authority to set it aside.... If I had the authority to set it aside, this would be a dangerous government, and I wouldn't respect it.
The reverse process is extremely important to me - that artistic images can inspire to words and different myths, and that in certain cultures this process has been the normal relation between images and words.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
Only sometimes when we pick and choose among the rules we discover later that we have set aside something precious in the process.
Painting is of course multifarious, and for all of us the goal is, gaining control without impeding the creative process.
Our psyche is set up in accord with the structure of the universe, and what happens in the macrocosm likewise happens in the infinitesimal and most subjective reaches of the psyche
My other creative outlet is knitting; aside from being fun, it is my antidote to the film business: I have full creative control, there is no development process, and I can self-finance.
Forgiveness isn't always a one-time thing. There are layers of it that need to be recognized in any situation -especially in a marriage. Sometimes we think we have forgiven, but we don't realize how many layers there are. And if we don't deal with each layer, hardness of heart can set in and build up to monumental proportions.
I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.
Who controls the images? Ultimately, we don't control the images. This is the minimum we're allowed to ask for: we don't get to control most of the media. We fight to have some say in the ways we're represented. At the bare minimum, don't insult us in person. That's all we ask! Let us at least be able to function freely in the world.
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